Balzac cited in proof of his claims to be considered a caricaturist. I will not deny that Doré did try his hand once upon a time at caricature, and if we are to judge him by these attempts, we should pronounce him the worst French caricaturist the world ever saw, which would be saying a great deal; for a worse school than that of the modern French caricaturists (and I do not except even Gavarni, Cham, or Daumier), does not anywhere exist. That this man of marvellous genius had humour I do not for one moment deny; but it was the grim humour of an inquisitor or torturer of the middle ages—of one that revels in a perfect nightmare of terror.6 Genius is said to be nearly allied to madness; and if one studies some of his weird creations—such, for instance, as The Judgment Day in the legend of “The Wandering Jew”—the thought involuntarily suggests itself that a brain teeming with such marvellous and often morbid conceptions, might have been pushed off its balance at any moment. Gustave Doré delights in lofty, mediæval-gabled buildings, with bartizans and antique galleries; in steep streets, dominated by gloomy turrets; in narrow entries, terminating in dark vistas; in gloomy forests, crowded with rocky pinnacles; in masses of struggling, mutilated men and horses; in monstrous forms of creeping, crawling, slimy, ghastly horror. By the side of the conceptions of Gustave Doré—teste for instance the weird pictures of “The Wandering Jew” already mentioned—George Cruikshank sinks at times into insignificance; and yet side by side with George Cruikshank, as a purely comic artist or caricaturist, Doré is beneath mediocrity.
Gustave Doré.]
[From “Contes Drolatiques.”
“THE ABBOT OF MARMOUSTIERS.”
[Back to p. 8.
Gustave Doré.]
[From “Contes Drolatiques.”
“THE LANDLORD OF THE THREE BARBELS.”
Gustave Doré.]
[From “Contes Drolatiques.”
MONSEIGNEUR HUGON.
[Back to p. 9.
Artists and art critics not unnaturally regard caricature with some Mr. Hamerton’s observations on Caricature. disfavour. “Art,” says Hamerton, “with a great social or political purpose, is seldom pure fine art; artistic aims are usually lost sight of in the anxiety to hit the social or political mark, and though the caricaturist may have great natural facility for art, it has not a fair chance of cultivation.” Writing of Cruikshank’s “etchings” (and I presume he refers to those which are marked with comic or satirical characteristics), he says: “They are full of keen satire and happy invention, and their moral purpose is always good; but all these qualities are compatible with a carelessness of art which is not to be tolerated in any one but a professional caricaturist.”7 Now all this is true, and moreover it is fairly and generously stated; on the other hand, Mr. Hamerton will probably admit that no artist is likely to succeed in graphic satire, unless he be a man of marked artistic power and invention.
While treating incidentally of the etchings of artists who have distinguished themselves as graphic satirists or designers, with etching itself as an art this work has no concern. For those who would be initiated into the mysteries of etching and dry point, negative and positive processes, soft grounds, mordants, or the like, the late Thomas Hood has left behind him a whimsical sketch of the process, which, imperfect as it is, will not only suffice for our purpose, but has the merit probably of being but little known:—
“Prepared by a hand that is skilful and nice,
The fine point glides along like a skate on the ice,
At the will of the gentle designer,
Who, impelling the needle, just presses so much,
That each line of her labour the copper may touch,
As if done by a penny-a-liner.
*****
Certain objects however may come in your sketch,
Which, designed by a hand unaccustomed to etch,
With a luckless result may be branded;
Wherefore add this particular rule to your code,
Let all vehicles take the wrong side of the road,
And man, woman, and child be left-handed.
Yet regard not the awkward appearance with doubt,
But remember how often mere blessings fall out,
That at first seemed no better than curses:
So, till things take a turn, live in hope, and depend
That whatever is wrong will come right in the end,
And console you for all your reverses.
*****
But the acid has duly been lower’d and bites
Only just where the visible metal invites,
Like a nature inclined to meet troubles;
And behold as each slender and glittering line
Effervesces, you trace the completed design
In an elegant bead-work of bubbles.
*****
But before with the varnishing brush you proceed,
Let the plate with cold water be thoroughly freed
From the other less innocent liquor;
After which, on whatever you want to protect,
Put a coat that will act to that very effect,
Like the black one which hangs on the vicar.
Then the varnish well dried—urge the biting again,
But how long, at its meal, the eau forte may remain,
Time and practice alone can determine:
But of course not so long that the mountain, and mill,
The rude bridge, and the figures—whatever you will—
Are as black as the spots on your ermine.
It is true, none the less, that a dark looking scrap,
With a sort of Blackheath and Black Forest, mayhap,
Is considered as rather Rembrandty;
And that very black cattle and very black sheep,
A black dog, and a shepherd as black as a sweep,
Are the pets of some great dilettante.
*****
But before your own picture arrives at that pitch,
While the lights are still light, and the shadows, though rich.
More transparent than ebony shutters,
Never minding what Black-Arted critics may say,
Stop the biting, and pour the green blind away,
As you please, into bottles or gutters.
Then removing the ground and the wax at a heat,
Cleanse the surface with oil, spermaceti or sweet—
For your hand a performance scarce proper—
So some careful professional person secure,
For the laundress will not be a safe amateur,
To assist you in cleaning the copper.
*****
Thus your etching complete, it remains but to hint
That with certain assistance from paper and print,
Which the proper mechanic will settle,
You may charm all your friends—without any sad tale
Of such perils and ills as beset Lady Sale—
With a fine India Proof of your metal.”8
Woodward, engr. by Rowlandson.]
[“Desire,” Jan. 20th, 1800.
DESIRE.
W. H. Bunbury.]
[“Strephon and Chloe,” July 1st, 1804.
SENTIMENTAL COURTSHIP.
